ALICE WYATT
FRANCE







Pigments, linseed oil, pieces from the past, old post cards, obsolete documents, fallen into decay. I collect them to revive a certain place, an era, just for a quick glimpse. Suggesting a back and forth, seen navigating along lines and horizons. Pigments, huile de lin, Fragments du passé, Cartes anciennes, Documents obsoletes, déchus et abimé. Je les assemble pour faire reviver un lieu, Une époque, le temps d'un regard. Je suggère des aller-retours et navigue à vue Le long de lignes et d'horizons.



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Christel MORTIER
FRANCE







My works beginings were nature and time. My "beach rocks" are molded with paper, and assembled one to another to form a circle, for example. "This paper is special because it keeps it's form, an also keeps it's whiteness. I love paper,it can be stapled, transformed, molded; I love it's fragile side. This paper is a special paper used normally to protect artwork during tranportation."



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Christine CATHIE
NOUVELLE ZELANDE







Born in Wellington, New Zealand, Christine Cathie trained as a graphic artist and subsequently developed a highly successful career in graphic design. Her new pieces ASCEND continue to play with glass's capacity to hold it's form across a curve. From a solid grounded base that rises to a slender, curving apex, the color and luminosity of the glass allows the viewer to suggest their own interpretation of the form. Her WING is softly curved on one side, gently tapering to a curved feathered edge on the other, and delicately balanced to catch the light from all angles. Cathie's distinctive work has been exhibited widely in New Zealand and Australia. She has been a finalist in the prestigious Australian Ranamok glass prize for three consecutive years since 2002.



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CURTISS BROCK
USA







The way light and glass interact with one another has always interested me, therefore many of my pieces change color or cast beautiful shadows when placed in direct light. I try to work directly with the interaction between light and manipulated glass that causes shadows as beautiful forms themselves. In the Stone Vessel series I try to create a tranquil mood through simplicity while still building tension. The exterior of the glass forms resembles stone, and the tension is created by placing saw cuts in the sides and shearing off the tops, revealing the colors and layers of the glass body. The cuts are carefully placed according to the shadows of light they cast. The cuts also seem like scars left by the hotworking and coldworking processes.... The real purpose of these pieces is visual stimulus and experience. The Stone Groupings series is focused more on natural forms and their interdependency. My aim is not to reproduce nature, but to draw from the colors, textures and forms of nature. In these pieces I use handblown opalescent glass to create work that looks like solid stones. When light passes through them, they emit a unexpected glow that reveals their transparency.



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Deborah CHARITY
ENGLAND







« My work experience as an interior Designer has heavily influenced the emphasis on composition in my paintings - it's contents, colour and space between objects. My painting technique is achieved with a loose brush and a varying weight of paint, together with the beautiful fluidity of the paint used. Describing my work as "investigative energy", my focus is on an alive movement with the atmosphere and mood that a painting evokes. I use references from photographs taken of my garden in the summer to trigger the shape and textures that eventually achieve the composition I commit to the canvas. The background medium (pure colour pigment paint) enables a subtle colour transition throughout the day's changing light. The light reflecting qualities of the Chinese lacquer, together with a laying technique creates a tactile three dimensional effect on the painting." Deborah Charity lives in Edenbridge, England. She studied commercial graphics (1992 at South Cheshire College, Cheshire, U.K.) and landscape design and amenity horticulture (1994 at Reaseheath College of Agriculture, Cheshire, U.K.). During this time, she won an important award for a commercial garden project. Deborah has exhibited extensively in England including a permanent collection displayed at her home studio in Kent.



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Eva VLASAKOVA
CZECH REPLUBLIC











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Gerard FOURNIER
FRANCE







Peint depuis des années 60. Pratique la gravure taille-douce de 1976 à 1986. Sous l'influence de la gravure et de l'environement dans lequel il vit, travaille le schiste et aborde vla sculpture.



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Hanneke FOKKELMAN
FRANCE/NETHERLAND











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Jan Joop RUISCH
NETHERLAND/CZECH REPULIC











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Jenny SMITH
NOUVELLE-ZEALANDE







Textures, folds and colors of silk translated into glass to evoke the textures and patterns in our environment, to convey the timeless nature of these ever-recurring patterns and the sense of inevitability they evoke. Jenny has participated in many exhibitions throughout New Zealand, and is rapidly gaining an internetional reputation, with exhibitions in several Australian cities, and in the USA. In her "Silk Road: Patterns of Time" series, jenny developes geometric shpes with abstract patterns which are interpreted in different ways by the viewer, from refracted, achieving a stunning effect. In 2005, Jenny was among a small number of New Zealand artists selected as finalists in the prestigious Ranamok Glass Prize in Australia.



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Jonathan MCMILLAN
USA







« Growth » is a series of sculptural works that respond to the intuitive process of coil building with clay and primitive tools. I use visual sources like architecture, plant life and the human body (to name just a few) to create works with abstract references. These forms begin with no planning, and literally grow in layers from the bottom up. The time between each layer necessary for structural integrity allows for consideration and decision-making that respond directly to the work as it is made.



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Julie DENTON
UK/SUISSE







Currently Julie Anne is completing her PhD in glass techniques and their conceptual applications, from a distance at the National Glass Centre in conjunction with Durham University. Her bespoke design items are inspired by the European aesthetic concerning form and function. The impact of her work is felt across Europe and further afield.



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Linda SHEPARD
FRANCE







Born in the US but living and working in France for the last 35 years Linda Shepard has a certain attraction for old, used materials. She loves to find beauty in rejected and discarded objects, subliming their rusted patine, their new hazard-due form, broken, and spending years in a corner waiting for her to come and get them, seeing their possibilities to bring happiness and respect in their reborn state as a piece of art.



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Marianne SPOTTSWOOD
USA







La conjugaison du verre et du métal est, me semble t'il, l'achèvement d'un équilibre "Yin- Yang" dans lequel le verre jouerais le rôle féminin. Le métal introduit une certaine tension et semble contrôler la pièce mais jamais totalement; le verre lutte en permanence. Diplômée des Beaux-Arts, (Académie Julian et Regent ST. Polytechnique à Londres) Marianne Spottswood a dirigé sa propre maison de couture à NewYork pendant une dizaine d'années en y associant une équipe française. Au début des années 80, elle découvre l'Art du Verre à la célèbre Pilchuck Glass School de Seattle au contacts de grands maitres internationaux du verre contemporain: Toots Zinsky, Klaus Mojë, Paul Marioni, Clifford Rainey, Dana Zamecnikova et Marian Karel, parmi d'autres. A la même époque elle rejoint le Pratt Institute de NY ou elle se familiarise avec le design. Elle crée des objets et du mobilier. Elle poursuite ses recherches sur le verre à l'Urban Glass pendant une dizaine d'années. Ces passages successifs dans les meilleurs institutions aux États-Unis lui ont permis d'acquérir et d'exprimer des capacités de création dans ses sculptures contemporains en verre.



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Misao TSUKIDA
JAPON











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NEAL DROBNIS
USA







Inspired by nature and ancient artifacts, Neal Drobnis creates glass sculpture in an exciting combination of the cast and blown glass techniques, reinterpreting a tradition of glass forming used by the Romans over three thousand years ago...



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PETER LAYTON
GREAT BRITAIN







In many of my series the colour fields, tones and patterns are painstakingly built up in layers, one over another to achieve the rich and varied effects I strive for ; rather like applying differing kinds of brushstrokes in painting. The colours come in various forms; powders, granules, canes, shards or concentrated rods, which can be used to create areas of texture and/ or juxtaposed with swathes of contrasting or complimentary solid or patterned colour. The method of application therefore, depends on the desired effect and may involve pick-ups from the marver, or intricate trailing. The various methods can be mixed, manipulated and/or distorted in a gestural fashion. Sometimes the piece is rotated by transferring the trailed parison to a second perpendicular blowing iron to change the pattern axis from a horizontal to a vertical emphasis. Peter Layton, one of the pioneers in studio glass in Britain, is not only producing new and original work, he has also fostered and encouraged more young aspiring artists in his London Glassblowing Workshop than any other studio.... Acknowledged for the significance of his contribution to the studio glass movement, he was instrumental in setting up the Glasshouse in Covent Garden, establishing a glass department at the Hornsey College of Art (Middlesex University) and in 1976 the London Glassblowing Workshop as well as being one of the founders, along with Sam Herman, of the Contemporary Glass Society in 1997. He has made major art pieces as well as many public art commissions and is present in prestigious collections all over the world.



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PILAR ALDANA-MENDEZ
COLOMBIA/ SPAIN







Born in Bogata Colombia, Pilar Aldana Mendez lives and works in Barcelona, Spain since 1985. She creates monumental sculptures in specific sizes that adapt to certain places and installations using glass, stone, wooden effects, light and sound. More than 30 of her sculptures can be found exhibited in natural sites and in open air museums in Europe, Africa, and in America.



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REBBECA HARTMAN
AUSTRALIA







My work is guided by the human body and how we interact with our surroundings. The human form physically expresses emotions through body gesture and posture. These gestures are often a result of external influences and how the body mostly reacts to these incidents instinctively and unconsciously. In my most recent work my aim has been to emulate the pure and innocent nature of embryonic and f½tal forms. To capture this seemingly serene environment where human form is free to grow, free from outside influences ; protected and safe. Free to be virtuous and naïve, untouched by outside emotions, unmoved by the outside world and all that it entails.



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SYLVIE BELANGER
CANADA











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Tim SHAW
AUSTRALIA







"Glass is a marvelously contradictory materiel, fluid and dense, while being solid, hard and sharp. I can create anything in glass, but I feel as if I have only touched the surface of glasses artistic possibilities."



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VANESSA SOMERS
ITALY







"A link between past cultures and the future- interpreting ancient art with a modern twist"



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YUMI NOZAKI
JAPAN











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